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Last year when I was at Osaka University of Arts for 6 month, there was one crazy Canadian acting student, who always dressed in kimono. Later on during the summer, it became a trend and lots of university students came to uni dressed in kimono (the girls more in yukata). It was fun to see - also that they weren't used to the clothing and had difficulties walking etc. The effort was there and it was somewhat sweet. I wonder if the fashion stayed on this year....
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I found this today. Maybe many have heard it already, but I was thouroughly impressed. Take Five is one of my favorite songs (even after Cadillac abused it in their marketing).
http://video.google.com/videoplay?docid … &vt=lf
Am I correct in noting that there are no meri notes in this performance?
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lowonthetotem wrote:
Am I correct in noting that there are no meri notes in this performance?
Oh, there are plenty of meri notes, but then, that is YAMAMOTO Hozan, after all...
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Oh, there are plenty of meri notes, but then, that is YAMAMOTO Hozan, after all...
When I just listened to it and did not watch, I thought that I could hear them. But, his head doesn't bob up and down. It confused me. Of course that is not a difficult thing to do.
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lowonthetotem wrote:
Oh, there are plenty of meri notes, but then, that is YAMAMOTO Hozan, after all...
When I just listened to it and did not watch, I thought that I could hear them. But, his head doesn't bob up and down. It confused me. Of course that is not a difficult thing to do.
He plays very efficiently, so there's not a lot of obvious head movement, mostly changes in the embouchure. Also, there are no dai-meris, as in traditional music.
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I must say there is something great about Yamamoto Hozan in the way he just does what he likes. He is past 70, has smoked like a chimney and love playing jazz. So, that's what he does!
lowonthetotem, if you watch videos of Yamaguchi Goro, you will also see that he hardly moves the head - even when he plays honkyoku. Most is done, as Ed says, by embouchure changes. It is another playing style. Yokoyama Katsuya had very large head movements, I find. Both methods get us to meri.
Okuda doesn't have large head movements either and that is 'naturally' passed on to me. So, sometimes I have to force myself to do larger head movements when teaching beginners because if they can't see me doing it (even if I tell them to do the head movements) they begin covering up with alternative fingerings instead.
Thank you for the Hozan jazz link. I think I will show this clip to the students at uni.
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I use "Take Five " on my jazz shakuhachi gigs-using a 2.4 and playing the Paul Desmind/Dave Brubeck number in d minor. Its falls very easily on this size shakuhachi.
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John Neptune also has a nice album of standards ('Mellow Jazz' being the title).
Tracklist:
Blue Bamboo
In A Sentimental Mood
Manha de Carnival
AmazIng Grace
Don"t Get Around Much Anymore
Safe And Sound
Georgia On My Mind
SummertIme
Willow Weep For Me
Tenderly
Shadow Of Your Smile
Autumn Leaves
Skylark -
Slow Boat
Most are played on 2.4, with 2.9 and 3.2 tossed in for good measure. It's in a quartet setting.
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I am reading a great book from Derek Bailey - Improvisation: Its Nature and Practice.
Its a Must.
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Just by way of addition to jazz & pop tunage that shakuhachi endears
"Money" 2.4--Pink Floyd- 7/4
"Your Song" w/ a 2.4 lyrical
"Imagine" 2.4
"What a Wonderful World" 1.8
"Chan Chan"1.8
"Fields Of Gold" 2.1
"Blue Bossa" 2.0
"Misty" 2.0
"Out of Nowhere" 1.8
"Wave" 1.8
"Pachelbel Canon" 2.4
"Girl From Ipanema" 1.8
"How Insensitive" 1.8/2.4
"Titanic" 1.8
Last edited by YuccaBruce (2008-10-18 12:18:48)
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shee, just sped read thru this thread with a wee taste of the saki in me but hey, even a cat can gaze upon a king, so:
1-Is there anyone doing Roland Kirk bits on longpipes?, cause I keep hearing "Inflated Tear" in my head.
2-The standard "Moonglow" sounds too sweet, we are only a rookies plugging away at a few bits, but it gave me my first experience of people in the park stopping to listen...
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jeff bird wrote:
miles
Wabi Sabi Brothers. Good to see ya!
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